As a seasoned gamer with countless hours spent navigating through virtual worlds and battling against formidable foes, I can confidently say that “Heretic” is a thrilling addition to the horror genre. The film’s unique blend of religious horror and psychological suspense keeps you on the edge of your seat, much like a challenging boss battle in a video game.
In Scott Beck and Bryan Woods’ religious horror film “Heretic,” the most intriguing scenes revolve around Hugh Grant’s character, a brilliant theologian portrayed with chilling persuasiveness, engaging in intellectual debates with two young Mormon missionaries. Grant, known for captivating audiences as Bridget Jones’ love interest and Julia Roberts’ partner in “Notting Hill,” employs his charm here to challenge the faith of these rookie evangelists. His character, a seemingly benevolent recluse, gradually unveils a dangerous trap. The film, which debuted at the Toronto International Film Festival before its theater release on November 15, showcases Grant as a convincing antagonist and leaves you questioning why he hasn’t taken on more villain roles.
Mr. Reed is a person with an unusual character, hinted at by his intense stare and unconventional humor. Two young women from The Church of Jesus Christ of Latter-day Saints, Chloe East’s character Sister Paxton from ‘The Fablemans’, and Sophie Thatcher’s character Sister Barnes from ‘Yellowjackets’, are tasked with trying to convert him. Upon arriving at his house, perched atop a steep staircase built into a grassy hill in the style of Frank Lloyd Wright, they find Mr. Reed to be open and welcoming. Generally, people view missionaries as unwanted intruders. An early scene where Sister Paxton is publicly shamed by a group of teenagers shows the low regard they have in this community.
However, Mr. Reed stands apart from others. He invites Sisters Paxton and Barnes inside, reassuring them that his wife is present (as Mormon beliefs dictate women should not be alone with men), and even extends the offer of blueberry pie. Despite his actions seemingly hinting at ill intentions, such as his persistent gaze towards a surgical scar on Sister Barnes’ arm or his probing questions delving into personal matters, his unusual display of interest in their faith is so uncommon that they choose to ignore their apprehensions. Unfortunately, this proves to be a misjudgment. In fact, Mr. Reed even takes out his personal copy of the Mormon scripture, further reinforcing his devotion to their faith.
Beck and Woods, renowned for producing the movie “A Quiet Place”, skillfully establish a sense of unease in the film “Heretic”. Collaborating with experienced cinematographer Chung-Hoon Chung, who has worked extensively with Park Chan-wook, and Philip Messina, the production designer of “The Hunger Games”, they meticulously highlight unsettling aspects of Mr. Reed’s residence to create a spine-tingling atmosphere. The diseased yellow wallpaper, paired with the absence of windows and the carefully arranged furniture, leave both us and the girls questioning the reliability of our host.
As Sisters Paxton and Barnes converse with Mr. Reed, his eagerness gradually turns menacing, a signal that sets alarm bells ringing in Barnes’ mind, particularly. By the point they grasp they’re in jeopardy – the doors remain shut, the pie is non-existent – it’s too late. It transpires that Mr. Reed is an ardent devotee of religion, a self-taught expert on faith and creed. His research has steered him towards some unsettling theories, which he lays out for Paxton and Barnes in one of the most entertaining and unique scenes in “Heretic”. Essentially, it revolves around Monopoly, Jar Jar Binks, Radiohead, and the Hollies.
In a composed yet fervent manner, similar to both a learned professor and an enthusiast, Grant shares his lengthy thoughts. He moves about the rear room, where he has assembled his visitors, and presents items to reinforce his arguments. Chung employs overhead shots to depict Mr. Reed’s desk – a well-arranged display of religious texts and Monopoly board games – that evokes the structure of a Renaissance triptych.
The initial scenes of “Heretic” are captivating, with standout performances from East and Thatcher that keep us on the edge of our seats. Paxton and Barnes’ introduction, along with Mr. Reed’s speech, set the stage. If Grant portrays the cunning antagonist, these actresses embody the resourceful horror protagonists that we can’t help but support. As the story unfolds, there’s a tense shift where Mr. Reed intellectually challenges these women, pushing their faith to its limits. East’s character, Sister Barnes, initially captivates us with her sharp insights and fearless confrontation of Mr. Reed’s reasoning. However, it’s Thatcher who skillfully exploits Paxton’s perceived innocence throughout the movie.
Similar to “The Assessment”, another film presented at this year’s Toronto International Film Festival, “Heretic” shines most as a three-character play within a larger setting. The dynamic between Reed, Paxton, and Barnes serves to divert attention away from the screenplay, which struggles under scrutiny. Initially, Beck and Wood appear to delve into the perils of contemporary religion, but their critique falls short of its intended impact. As Mr. Reed transitions from his speeches to more typical horror-villain actions, so too does “Heretic” pull away from its most passionate philosophical discussions. Despite Grant’s character relishing in his self-proclaimed intelligence, the overall production becomes surprisingly superficial. A subplot involving a Mormon leader pursuing the missing girls also fails to develop beyond a half-baked joke that was executed more effectively earlier in the film.
The intriguing dynamic among Paxton, Barnes, and Mr. Reed is the most captivating aspect of the movie “Heretic“. Even as the script ventures into less tense areas, substituting sharp exchanges for more moderate resolutions, their game of cat and mouse keeps viewers engaged and invested.
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2024-09-11 03:25